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EttBITION

*r OF

THE

NOVEMBER

F^SSS*

Property of
The Hilla von Rebay Foundation

Blauer Kreis, 1922.
W. KANDINSKY

HODERH AET

COMPOSED BY

KATHERINE S. DREIER & CONSTANTIN ALADJALOV

SOCIETE ANONYME— MUSEUM OF MODERN ART

NEW YORK— NEW YORK

] - JAY FOUNDA1

LXGSIDE DRIVE

GREENS FARMS, CONNECTICUT 06436

Weisser Punkt, 1925.
W. KANDINSKY

WASSILI KAIHJIUSKY

this book is dedicated

As My Gift to His 60th Birthday,

and in recognition

Of the Thirty Years1 Fight

which never abated
And is Carried On To-day
with the same
Vigor, Enthusiasm and Philosophic Calm,
which he has always shown.

Still Life. FILLA

Introduction

|0 matter what the opinion might be regard-
ing the permanency of the movement pre-
sented by this exhibition of paintings and
sculpture, it is beyond doubt that the tend-
ency to break away from the tradition of Raphael is
not local, nor is it merely the whimsical creation of
the moment. It has its exponents and its followers
in all countries, and even before the mental and social
reactions brought about by the great War, "Modern
Art" made its appearance in many notable exhibitions
in this country and in Europe. Without at least a
section devoted to works of this category, no contem-
porary exhibition can claim to display comprehen-
sively the art of to-day.

The Brooklyn Museum does not, however, assume
to take sides, efther as advocate or opponent, in the
controversies of contending schools. It does not
believe that the development of taste can be forced
by dicta on the part of the artists themselves, or of
the critics, or of the art museums as expressed in
their exhibitions. It remains with the public, as is
shown by the history of art, to arrive at its own final
judgments, unhampered by urging from any source
whatever. In the conviction, however, that the public
must see in order to judge, the Brooklyn Museum
admits to its galleries all types of work which show
real creative talent and power of original expression.
It is a forum wherein is carried on, by graphic ex-
ample, artistic discussion, which, after all, is vital to
the progress of art.

Z" by KAKABADZE

FOREWORD

HE dominant thought in assembling these
groups was to show how universal
Modern Art has become, and that in-
stead of dying out, as its enemies are
constantly proclaiming from the house-tops, it is
growing in volume, strength and vigor as the
years pass on.

To those of us who have watched the growth of
this movement almost from its inception, one fact
stands out specially clearly and that is that it
appears not to be dependent, or to rest upon the
reputation of a few well-known names, but has a
vitality and strength, which inspires and leads
even those of ordinary talent to heights which
other wise they would never reach. Like the
saints of old, it is so infinitely bigger than any one
man or than some personal conception of beauty
as expressed in old and dying forms.

The secret of this power lies in the fact that
cosmic forces are at work and with such potenti-
ality enter the individual who perceives them
that it clarifies his vision and sweeps him upwards
to greater heights. It is bigger than any one
nationality and carries the follower into a large
cosmic movement which unites him in thought
and feeling with groups throughout the world.
Though this is true, it does not mean that it kills
that strange quality which each nation stamps on
its sons and daughters, but rather that nation-
ality is no longer the whole substance, but a
flavor which adds a charm.

Few people can distinguish on the whole the
difference between Primitive Art and Modern
Art. But when one searches deep into the origin
which brought forth both, one finds a distinct
difference. Primitive Art, according to all
authorities, was the outgrowth of symbolism that
dwelt among the tribes. It was a tribal expression
and the artist was the tribe's craftsman, expres-
sing in forms what each individual felt. The
symbolism he expressed grew out of the people.
The opposite is true of Modern Art. Modern
Art is the outgrowth of a cosmic expression,
which those who are sensitive respond to, but it
has nothing to do with the people, for it is some-
thing beyond the people, being still in the future

for them. These artists, expressing Modern Art,
are therefore the vanguards; they are proclaiming
a new era, which is not only finding its expres-
sion in the art of painting or sculpture, but in
architecture, music, literature, poetry, science
and even politics.

Some nations respond more to the sensations
through the eye than others. Some nations re-
spond more to the emotions through the ear. In
some nations the eye is so little trained to receive
any emotion whatsoever, except those of a
personal intimate nature, that they cannot even
imagine such a phenomena, as emotion through
painting, such as abstract music awakens. We
Americans, as a people, belong rather to this latter
group. The emotion of joy is attained through
the eye by the average person amongst us only
when he meets a loved one, or perhaps through
the sparkle of sunlight, but it is a strange and new
world to receive this same reaction when looking
at a painting. That is why the old art in America
still has such a deep hold on its people. It is not
the art to which they respond, but the subject
which it represents. That is why the American
modern decorator has introduced that tragic
attitude of starving a people esthetically, when
he bans pictures from the walls of homes and
claims that it is better to have no pictures at all
than to have bad ones. But when one asks why
bad ones, he cannot answer. If the esthetic
emotion of joy was received through the eye to
the extent that it is in some countries, such a
condition could not exist. In consequence we are
facing in America a very curious anomaly. From
one angle it is the most stimulating country for
any modern person to live in, for it is the one
modern expression of life without a past. This,
however, is so involuntary and has been so little
perceived intellectually by us as a people, that you
find a smaller audience in the appreciation for
Modern Art here than you do in almost any other
country. In Europe, where the artist is not
nearly so stimulated towards modern reaction as
in this country, there exists a larger appreciative
audience — people who intellectually realise what
the artist is striving for and though they live
in an atmosphere far less up-to-date than we,
they are conscious of it, whereas we are not.
Hence this tragic illusion of the average modern

European artist, who desires not only to come to
America but to bring his work, for they cannot
realize how involuntary our modern reactions
are.

The aim of the Societe Anonyme is educational
and to stimulate thought and reaction in the
world of art, to keep it vital and alive like a flow-
ing stream, not a stagnant pool — therefore, it was
meet for this assemblage to contain various groups
which have never been shown here before.

One of the most important of these is Mondrian,
whoafter twenty years of slow-, steady develops
ment has reached a clarification of thought, as
expressed in line and form, that has drawn unto
itself a considerable group of vital young men
and women. Even more has his influ-
ence been felt along the line of architecture, or
interior decorating, as we would call it. And
here his influence has spread throughout all of
Europe. Such men as Van t ong e r loo ,
Van Doesburg, such groups as the Bauhaus in
Dessau, or Baumeister in Stuttgar?have all been
filled with this cosmic feeling of a finer division
of space and color within a room itself. No
thought, which is cosmic, can, however, be
claimed by any one individual and so though
Mondrian has created for himself a position which
is unique as a leader in this line of thought which
has been taken over by architects, it has found
early expression in other countries as well. For
a long time it was customary in Russia to bring
in a variation of colors within the same room
and not to paint or paper all four walls alike, as
we do. This thought has been most successfully
expressed through the Bauhaus in various galleries
in Germany, of which I have written in greater
detail in connection with the exhibition of
Moholy-Nagy in Dresden, which has been given a
full page reproduction in this book, because of the
room in which it was held.

But there are a number of other movements of
equal importance. I presume Pevsner and Gabo's
contribution to the importance of depth in
sculpture in contrast to mere circumference,
which Archipenko also introduced through his idea
of the concave, is a very distinct contribution.

Or take Pevsner and Gabo's work in connec-
tion with kinetics, of which I speak at greater
length in my introduction to Russia.

Or take Malevitch's theory, on which the
Suprematists base their paintings, or Leger and
Osenf ant's thought regarding "Interieurs Me-
caniques" or De Chirico's "Interieurs Meta-
physiques" — all these thoughts are of tremendous
importance to the young painter or sculptor who
receives through them a new pulsation of life, a
new outlet for his artistic expression and emo-
tions— for they are forces towards development
and growth.

This book is the outgrowth of the International
Exhibition of Modern Art held at the Brooklyn
Museum. No one person could in so short a time
have assembled so high a quality of paintings. It
is, therefore, not the work of one person, but
really represents the modern group of Europe,
for my long experience and personal friendship
with many of these artists made it possible for me
to turn to them in all friendliness and ask their
aid, which they gave with a generosity which
only artists extend to each other, when the aim
is art and not personal advancement. I, therefore,
want to express my deep appreciation and thanks
in this Foreword for the aid which was rendered
in the selection of the works by Kandinsky of
Russia, Mondrian of Holland, Campendonk and
Kurt Schwitters of Germany, Bragaglia and Pan-
naggi of Italy, Leger of Paris and special thanks
for the indefatigable energy which Marcel
Duchamp rendered in gathering the works to-
gether in Paris and Helma Schwitters, the wife of
Kurt Schwitters, in Germany.

But though this book is an outgrowth of the
assemblage of these pictures, it would never have
come into existence, but for the Manager of the
Polygraphic Company of America, David Wer-
blow, through whose courage, energy and vision
this Special Catalog came into being. We had all
hoped that it might be achieved, but it would
after all have remained only a dream but for him
— through him this collection will now go forth
into the world to be a lasting stimulation to
many a young spirit. If the Catalog could not
have come into existence without the Poly-
graphic Company of America, neither could it
have reached its height of beauty without the
fine work of Constantine Aladjalov, who is re-
sponsible for the perfection of the title page, maps
and the so-called advertisements — which are in

reality, however, little bouquets of appreciation
which the Societe Anonyme through the kindness
of others is able to present to its fellow fighters in
the field of battle for greater life in the Arts.

When one considers that all this work has been
done out of love, one realises the vigor and
vitality of the Modern Art Movement. Only
cosmic forces can bring forth such response, for
no one has the patience, the perseverance, to
devote so much time and energy to a passing
thing. The seed that is sown, one cannot escape.
Much of it will not fall on friendly soil, but that
is an old truth, whose law we know. If, how-
ever, any young talent is safeguarded from mis-
directed efforts by this Exhibition, or this book,
in being true to itself, and not to feel the need of
compromise with a public that does not yet under-
stand, we will feel that we have served our
purpose. Our work is to preserve the energy of
art and direct it to future fruition. To encourage
artists to be true to themselves and the vision
that is God given. The greatest difficulty is to
sustain the enthusiasm and the vision of one's
youth in Art and the power of the modern move-
ment is that those of us who have continued to
keep true to our vision have not grown old.

o\>

CIZEK

N 1912 Professor Ciz,ek developed a new
form of approach towards art in his
Department at the National Academy of
Arts and Crafts in Vienna, for his pupils
to follow, which he called "Kinetismus," or the
awakening of the eye. His chief note in teaching
has always been not to teach, but to permit the
individual to grow and like a plant to train it to
be true to itself and bring forth its own peculiar
fruit. Later when France developed the new
approach to art which it called Cubism and
Germany that which it called Expressionism, he
added the following sub-titles to those two: for
Expressionism the awakening of feeling and for
Cubism the awakening of the brain. Therefore,
to him these three new- approaches were of value

and importance. For to him the art of the teacher
is to awaken new power. The art of Expression-
ism is to awaken feeling; the art of Cubism is to
awaken the brain, and the art of Kinetismus is
to awaken the eye. New feeling, new thinking,
new seeing.

In his classes Professor Cisek developed the
intellectual principles of rhythmic creation. He
teaches that out of the crystallisation of these
living rhythms proceeded the new ornaments of
our time. One of the points most emphasised in
his teaching is to make his pupils conscious of the
period in which they live and the forces that go
towards creating it. Few Americans, who are so
impressed with Professor Cisek's Saturday Morn-
ings when he permits any child in Vienna to come
and paint or draw in the big empty schoolrooms
under his charge, realise that that is not his main
work — but rather a corollary — and that his chief
work is to introduce the spirit of our Time into
the creative work of his pupils — to have his
pupils create — not copy the old designs, no matter
how beautiful — for they belong to the past while
his pupils belong to the present, the Now.

Unfortunately, on account of ill-health, Pro-
fessor Cisek was not able to place at my disposal
the group of sculptures and paintings by himself
and his pupils, which I had selected to bring over
and, therefore, his group is represented by only
one of his most gifted pupils. Her work which
was sent, however, belongs to the decorative arts
rather than to the art of painting or sculpture —
this is Erika Klien.

E
F

P
K

vj<

SERVRANCKX

E2I Cjl '^/i T>ORN in Belgium 1897. First exhibit

m^ ■*" "■ ^>— " ^^ wr" D tion Brussels 1917. After the war

an exhibition was organised to travel throughout Europe. This is his firs!
appearance in the United States. He is a painter of distinction in his own
country and was a member of the Belgian Commission to the International
Exposition of Decorative Art, Paris, 1925 when he won the Gold Medal.
Also designer of modern furniture, where simplicity is emphasised.

To quote Wics
Moens, the Flemish
poet: — "With full-
ness and abundance
he incarnates the
artistic ideals of the
new generation in
his art."

.SOFIA

The Funeral

Spring

BULGARIA

BORN in Bulgaria among the moun-
tain peasants, whose life he ex-
presses with rare enchantment. His
sensitiveness to nature and to the
atmospheric aspects of his country he
renders through a very individual
form. He studied to be an architect,
but has devoted himself more to paint-
ing since coming to Paris.

Children at Play

PAPAZOFF

3048710 Sq. Miles

1AWREN HARRIS was born at
y Brantford, Ontario, Canada,
in 1885. When 19 he went to
Europe to study art for three
years in France, Germany and
Italy. In 1907 he returned to
Canada, where he has lived and
worked ever since, collecting
about him the group called
"SEVEN," all of whom live in
or near Toronto. They began
with a realistic point of view-,
passing through a decorative
point of view and ending
through the process of summari-
sation in a definite plastic state-
ment of ideas, that with the
years has come to possess artistic
clarity.

In 1911 Lawren Harris and a

friend built the firsl; and only
studio building in Canada,
which has since become the
gathering and working center of
nearly all original talents of the
country. Through its influence,
directly or indirectly, has come
nearly all modern "work in
Canada, particularly such work
which has a distinctive Canadian
outlook. For rightly or wrongly
Lawren Harris feels that a people
can be united only through its
creations and therefore they
must create their own artistic
idioms before they can become
articulate as a people and com-
mence to live in profound
reality. This self-achievement
of a people permits them to then
comprehend and understand the
works of others.

E
F

PRAGUE . I

EMIL
FILLA

CZECHOSLOVAKIA

BORN in Chropyu, Moravia,
April 3rd, 1882. He first
attended college, then passed
through commercial training, but
finally decided to take up art and
went to Prague to study. His first
exhibition took place in 1906 in
Prague. Just prior to the war he
went to Paris for a short time.
During the 'war he represented his
country as attache at the Embassy
in Holland. In 1919 he became
secretary of the Chechoslovakian
Legation, which position he re-
signed a year later to devote him-
self to painting. He is a fine
sensitive painter and his works
are in the National Gallery at
Prague as well as in some private
collections both in Prague and in
Germany. Especially is he repre-
sented in the private collection of
the Director of the National
Museum at Prague, who has a
remarkably complete collection of
paintings both by Filla and by
Picasso.

GUTFREUND

BORN in a small town
of Czechoslovakia
in 1889. When he was
twenty he went to £ludy
under Bourdelle in Paris
for one year, then re-
turned to Prague to
work. In 1914 ju£l before
the war broke out he
went back and being in
Paris at that time he
joined the Foreign
Legion as a volunteer.
In 1920 he returned to
Prague where he has
lived ever since. He has
designed many public

monuments. The one he values
mo^fc is a memorial to Bozena Ne
Mcova, which represents an
episode out of Gutfreund's own
childhood, when he had the rare
privilege of meeting this creator
of fairy Glories. Like Rodin's
''Bourgeois de Calais," the group
Elands life-size on a green with
flowers, Mcova as an old woman
gathering the neighbors' chil-
dren unto herself. Personally
his terra cotta statues represent-
ing everyday life, as the one
reproduced here, which he calls
"Business," through their
humor and intensity are his
mosl modern expression. He is
also represented at the National
Museum in Prague. ■

DENMARK

ORN in Denmark, where she lay the
foundation of her personality and
studies, after which she went to Berlin to
continue her painting. Recently she has come to Paris and joined the
group of young artists who have gathered around Leger. However,
she has kept her own personality intact and is considered by Leger
as one of the most gifted of the group.

FRANCISCA
CLAUSEN

STORM-PETERSEN

THE VILLAGE

THROUGHOUT the world the name
of "Der Sturm" is now known as
one of the first and most aggressive
groups to fight for Modernism during
the la£t twenty years and with the
name of "Der Sturm" are associated
the two leading spirits Herwarth

Walden and Dr. Bluemner. But it was Herwarth Walden, who, feel-
ing and seeing the vision of Modern Art, went out on the streets of
Berlin to sell his penny paper which was fighting for this idea. That
out of this street selling episode so big and vital an influence should
have grown as "Der Sturm" has been for the last seventeen years, is
amazing and shows that it has a life beyond that of its founders. No-
where throughtout the world has there appeared an organisation
along the lines of Modern Art ju^l like "Der Sturm." Not only has
it its own galleries, where Modern Art is shown, but once a week
in these same galleries there are held the so-called "Sturm Abende,"
where modern Music, Modern Recitation or Modern Dancing are
enacted. Besides this they have a publishing house, which issues their
magazine and prints the various books on Modern Art, Music and
Poetry. But not content with all this, they have an excellent book
shop — a most complete modern book shop, where one can buy the
current magazines on Modern Art from throughout Europe.

Among the many to whom "Der Sturm" has been an inspiration,
is Robert Storm-Petersen, born September 9th, 1882, who since 1913
has exhibited his charming and individual water colors. "Der Sturm"
has also published his books and whenever in Berlin he enjoys giving
his recitations and entertaining cabaret numbers at "Der Sturm"
evenings.

E
F

•n

LETT
HAINES

ENGLAND

HE istheonly
Englishman whose
work I have seen or
come across which
shows an understanding
of what the Modernists
claim as their point of
view. He must live in
an airship, as he is back
and forth between
London and Paris so
much. He is still a
young man.

kR%*

<5"

N the world of art Paris
is France. In this way
France differs from almost
every other European
country, for in all other
countries there are groups
scattered invarious cities, but in France Paris alone collects every-
body unto herself.

What is the charm of Paris? It is that for centuries Paris has been
the seat of learning and intellectuality. There is an intellectual
freedom in Paris which one does not find elsewhere, yet from the
French point of view this freedom must always be bounded by a
finesse — therein lies its charm and its stimulating influence, as well
as its danger. The weak it over-refines, but the strong it teaches to
harness their forces. It is this contest which is so stimulating.

~13

At the time of the Renaissance all European artists
flocked to Rome. For the last fifty years all artists
throughout the world have flocked to Paris. It has become
the international meeting-ground and yet it is a mistake
to think that one can find all art in Paris. The artists of
other nations come and go — but they do not all stay.
And it is here where most Americans make their greatest
mistake, when they think that they can find all art in
Paris, since Paris is the meeting-ground for all artists.

BRAQUE

/^\NE of the great leaders of the modern movement,
^-^ according to the world — in actuality an excellent
artist who was tremendously impressed with this vision
in his youth. Since arriving at middle age, he has lost his
fighting quality, but has remained an excellent painter.

LEGER

ONE of the most vigorous personalities in the
world of Modern Art in Paris to-day, who
has gathered a large international group of fine
young painters about him.. His art finds expres-
sion not only in paintings, but in wall decora-
tions and in the theatre. He developed slowly
and steadily and now in middle life has retained
the full vigor and vision of his youth.

LEGRAIN

FOR years the problem of framing modern
paintings has upset every modern artist.
The result has been to abandon frames on the
whole, but there are always certain circum-
stances under which a frame is necessary in
order to isolate a picture from its surroundings.
With this in view Pierre Legrain, the famous
French book binder, whose exhibition of bind-
ings met with such distinction when held at
the Seligman Galleries in New York in 1925,
has devoted his spare time to solving this prob-
lem and has met with the same distinguished
success in many of his frames. Nothing can be
more beautiful than some of the frames he
designed for a Marie Laurencin, or for a Picasso.
The frame reproduced here was designed spe-
cially for this picture and in its coating of light
varnished wood and brilliant reflected silver
blocks, he adds a new note to Villon's picture
called "Song."

VILLON

THEY tell a very charming story about Gaston Duchamp. His father,
a lawyer of great distinction, was distressed when his oldest son
showed such curious tendencies in his art. His son, not wishing to
grieve his father by making his name appear ridiculous, took the name
of Jacques Villon for his artistic work. Then the second son, Raymond
Duchamp, showed similar tendencies not only as a sculptor, but as an
architect, but as he was his brother's junior by several years, the father
heaved a sigh and permitted him to use the hyphenated name of Duchamp-
Villon, since by this time the name of Villon was treated with respect
throughout the world of art. When his youngest son, Marcel Duchamp,
showed even greater tendencies toward this new peculiar mental bent
in the artistic world, his father capitulated entirely, feeling that he was
facing a force stronger than any personal prejudice. The three brothers
were three of the primary movers of the cubistic movement in Paris
when it was born. Though Picasso and Braque have been the names the
world has accredited, without the fine silent work of these men, I
doubt whether the movement would have grown or taken such deep
root in France as it has.

Besides the fine creative work along
cubistic lines, Villon has developed a per^
fection in reproducing other masters
through color etching as has only been
reached by one or two craftsmen in
Germany. His reproductions of Cezanne's
water colors, like those reproduced in
Germany, cannot be distinguished from
an original except by experts.

#f»*

.4. *
» •*> »

if ** i*

Song by Jacques Villon,

Frame by Pierre Legrain

/fficW ffafi/

GLEIZES AND METZINGER

TWO more members of that famous original French Cubist
group, Albert Gleizes and Metzinger, helped to build up the
fame of Cubism through their joint book issued in 1912. For
books travel farther than paintings and help many a person to
bridge the chasm which their prejudices create. Gleizes' work
reproduced here, represents his later period, where he has made

a study of flat design for wall decorations.
Metzinger, in turn, has gone back to more
realistic rendering, though one feels the
influence of the early cubistic training
through the severity of outline and the
accentuation of design.

DUCHAMP-VILLON

ONE of the three brothers who
unfortunately lost his life
during the war. He was a little
more than thirty when death
claimed him. His mo^l famous
works are his Head of Beaudelaire,
The Seated Figure, The Cock and
his reliefs.

ARP

BORN at Strassbourg in the late 80's, he is now a
Frenchman, though many of his writings still
appear in the German language. In 1917 he started
with Tzara in Switzerland, the Dadaist move-
ment and is one of the few real Dadaists. For
to be a Dadaist you must be conscious and de-
liberate about it. There is nothing haphazard or
accidental. The Dadaists claim that beauty exists
everywhere — it is only the senses through the
mind that can give expression to it. Art per se
does not exist. Arp is now a Surrealiste. His
work is to be found at the museums in Hannover
and in Munster, as well as in many private col-
lections.

PICABIA

BORN in Paris in the late 70's of a French mother
and a Spanish father. At the early age of seventeen,
he already exhibited in the official Salons of Paris.
Later he joined the Cubists in their attack on academic
forms in art. In 1917 he became the French leader of
the Dadaist movement in writing as well as painting,
for he has a brilliant searching mind, which is given
especially to paradoxes. He was the chief editor and
promoter of "391," the European compliment to
Stieglitz;' "291." Since 1924 he has created pictures by
using materials instead of paint. There is a constant
growing demand in the minds of many modern artists
that another medium should be looked for. To those
who do not feel this need, these experiments seem
ridiculous. But to those who realise that it is a search-
ing to meet a new quality and has achieved actual
results, it meets with intelligent criticism.

He has exhibited since 1915 in New York both at
"291" and at the Societe Anonyme.

MARCEL DUCHAMP

BORN in the late 80's, like Arp he is
one of the few real Dadaists, but
instead of joining groups and creating
movements as Arp does, he has always
remained a free lance, throwing his
weight into the balance for greater
freedom of thought and expression.
He belongs to the few favored artists
whose works have always a market.
No collection seems complete without
a Duchamp and yet there are so few
to be had.

LA NOCE

SUZANNE DUCHAMP

SUZANNE DUCH AMP, a sister of the
three brilliant brothers and the
wife of Jean Crotti, is a regular
exhibitor at the Independants and
the Autumn Salon in Paris. In 1916
she took up the subjective reactions
towards subjects, returning in her
paintings to a synthesis of reality
which is seen in her picture en-
titled "Marriage," reproduced here.

SUZANNE PHOCAS

ENFANT AVEC CHIEN

ONE of the joys in assembling a work of this kind are the un-
expected artists one discovers, and nothing gave me more pleas-
ure than when I ran across "Travestis," at the Societe des Inde-
pendants in Paris this season. The fineness of the quality of her
work and the conviction with which it was rendered appeared all
the more amazing when after meeting her I discovered she was not
yet thirty. She was so absolutely unspoiled in her sincerity and the
naive purity of her work is part of her own personality.

A RMAND NAU was born in France in 1902, a
-£*• gifted youth, full of talent, for whom life
moves far too slowly in allowing him to express
that which is within him. He is full of the
possibilities of Modern Art in its various expres-
sions and as far as I could ascertain was the
first to apply it to flooring, which the famous
modern French architect Mallet Stevens used

in one of his buildings at the big International Exposition of Decorative
Arts in Paris in 1925 and which is reproduced here.

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NAU

ARCELLE CAHN was born in Strassbourg. After
the usual conventional studies she fell upon
the vision and possibilities that Modern Art reveals.
She came to Paris to study under Osenfant and Leger
who were deep in their research studies of the
m mecanisme interieur, which problem she has taken

up with fresh vitality and vigor. Her work stands
out and was finely commented upon by the critics in that interesting
exhibition "L'Art d'Aujourd'hui" which was held in Paris last year.

CAHN

P
N

S
U

VALMIER

BORN at Angouleme the
tenth of April 1886.
Like many of the French
artists of his generation,
he is the spiritual descen-
dant of Paul Cezanne.
From the beginning his
desire was to continue
the research begun by
Cezanne, but felt that a
better realisation of these
ideals would be reached,
if he submitted himself
to the strict discipline of
the Ecole des Beaux Arts
which he attended for
four years. Like many
modern Frenchmen he is
turning to the theatre,
as well as painting pic-
tures and has from time
to time made the decor
and the costumes for the
comedies of the Champs
Elysees, l'Atelier et le
Theatre, 1' Art et 1' Action
and for the Franco- Am-
erican Association. This
winter Adolphe Bolm, of
the Ballet Russe, is pre-
senting in Chicago and
Boston Valmier's Ballet
"The Farce of Pont
Neuf."

GEORGIA.

KAKABADZE

THERE are few spirits who de-
vote themselves so contin-
uously to research as KakabacUe,
ardent supporter of indepen-
dent Georgia, who now makes
his home in Paris. Trained as a
scientist and for many years
teacher of natural sciences in
Moscow, he is unceasingly
searching for new forms and
new sensations of the eye which
have brought about some beauti-
ful results. His works are to be
found in the National Museum
at Tiflis. His most profound
study has been the three dimen-
sions in the two dimensional
form — an illusion of the eye.

N
P

K
S
U

DUSSELDORF

,e^A'

GERMANY

IN the death of Franz Marc, Germany
lost one of her greatest artists of all
times. It was he who with Kandinsky
of Russia, who had come to Munich in
1907, founded the modern movement in
Germany. They gathered unto them-
selves many important men and termed
themselves "Die Blauen Reiter," pub-
lishing a book regarding their activities
along the lines of poetry, music and
painting in 1910. Born February 8th,
1880, in Munich, Marc was the son of
the well-known painter of that period,
Wilhelm Marc, and was thoroughly
trained in the Munich School. He was,
however, too vital a personality and
soon started his remarkable research
into animal life, for to him all animals
have a soul. He it was who evolved the
theory that you can best express animal

REHE by FRANZ MARC

life through terms of color and not alone through realism. The unfathomable
qualities in the horse he expressed with blue, the sunny disposition of a cow he
expressed through yellow, hence his so-called yellow cow and blue horses. He
emphasized the mystery of animal life through this color combination and went
deep into the psychologicial study of each animal group. His finest works are
found in the private collection of Bernhard Koehler, Berlin, for it was he who
inspired Mr. Koehler with the new vision in art and taught him to see what
they were striving for. No German museum considers itself complete without
a Marc and I, therefore, consider myself most fortunate in securing two to be
exhibited in this country. His tragic death during the war was a great loss to
the whole world. In 1920, after his death, his letters -were assembled with
many of his brilliant aphorisms written in the field of battle and one of the
most profound and challenging is his famous one * 'Traditions are beautiful
things, but only the creation of traditions, not living after them."

"" 31

CAMPENDONK

AMONG those who were inspired by Franz
Marc and Kandinsky, when only a lad of
eighteen, was Campendonk, born November 3rd,
1889, who has since become a leader in art of
South Germany. Though he lived for many
years near Munich, he remained true to the tra-
ditions of the Rhine and the mysticism of the
Rhenish Painters. He belongs to the vigorous
personalities who transmute their love and
understanding of art into all forms. Because of
his marvelous sense of color, he was asked by the
manufacturers to teach color value to the Rhenish
silk weavers. His decors for the theatre have
attracted widespread interest.

JOHANN MOLZAHN

BORN May 21st, 1892, in Dais-
burg. Served during the war.
Since 1924 teacher of Graphic at the
Academy of Arts and Crafts, Magde-
burg. One of the most vigorous
and original of the German group.
His conviction is that art alone has
the living quality which permits of
the reconstruction of the present
and our preparation for the future.
The art of the last twenty years
will one day be recognised as a
center of civilizing force.

P
K

MERZ

He edits a magazine called
"Men,," which he founded
in 1922.

KURT
SCHWITTERS

BORN June 20th, 1887, in
Hanover. Received a thor-
ough academic training in the
arts. One of the most brilliant and
original painters and thinkers of
today. Not only versed and
gifted in the art of painting, but
also as a writer. His fairy stories
have a charm equal to those of
Grimm and Hans Anderson. His
most original work is the creation
of the "Laut Sonate," a sound
poem made through the reitera-
tion of numbers, consonants,
vowels and sounds with amazing
effect. He was also the first to
create a new technique for his
pictures in the choosing of other
material than paint. These pic-
tures he calls "Mers Bilder."

MAX ERNST

A RARE delicate temperament
with the mysticism of the old
masters of the PJiineland, from
whence he came. In 1919 he became
the leader of the South German
Dadaisl: Movement. After the war
he went to Paris in 1922, where he
joined the Sur realises, when they
separated from the Dadaists in 1924.

SEIVERT

BORN in Cologne, March 9th,
1894, of strong Catholic
ancestors. Suffered through ill-
health all his life. The Catholic
Church lending its approval to
warfare during the big war,
turned him into a Marxian,
since which time he has tried to
help social conditions through
his art. Out of the abstract art
he has evolved a constructive
realism, from which he desires
to remove all sentimentality
and charm, so that the pictures
may speak with greater
virility. He expects thereby to
emphasise conditions and
through the tensions within
the frame of the picture to
force the realization between
reality and life. He is a regular
contributor to "Die Aktion,"
Berlin and an occasional con-
tributor to the "Workers'
Dreadnought, ' ' London, and the
' * Laborer, ' ' Chicago. His paint-
ings are in the Reiff Museum
Aachen, Ruhmes Halle Bar-
men, Wallraf-Richertz; Museum
Cologne, Kunsthalle Dusseldorf
and in the Academy of Learn-
ing, Moscow.

HOERLE

BORN in Cologne 1895,
a friend and co-
worker -with Seivert,
with whom he founded
a new method which he
describes as follows.

ABSOLUTE RELATIVITY IN
PAINTING.

THE RESULT IS TOTALISM.

TOTALISM IS GOOD FOR
CHANGING THE WORLD.

MUNTER-KANDINSKY

ONE of the group of the original "Blaue
Reiter , ' ' founded by Franz Marc and Wassili
Kandinsky. Born in Berlin. Thoroughly trained
along academic lines. Has exhibited in Germany,
Russia, Paris, Sweden and Denmark. Her
pictures are in the private collections of Mrs.
Eddy, Chicago and Bernhard Koehler, Berlin,
besides in less well-known private collections
throughout Germany, Scandinavia, America
and Russia. A strong personality which she has
kept intact.

ONE of the original
group of "Der
Sturm' ' and of the
cubist group in
Paris in 1912
Stuckenberg
returned to
Germany
in 1914,
when
the
war

broke out and settled near

Munich in the little village

where Campendonk and Marc

also lived. Because of his illness he

was unable to serve in the war and in

time had to return home to Delmhorst

near Bremen, where many years were

actually spent in the hospital where he

was completely bed-ridden. This forced him

to withdraw from all activities in the world

of art, except his expression in water color

which showed the same vigor, originality

and beauty of color that have always been his.

I BAUMEISTER

THIS is Baumeister's first
appearance in America.
Born January 22nd, 1889,
in Stuttgart, he completed his academic education in that
city. Here he was considered absolutely untalented and wai
only promoted because the teacher in the class above had nc
pupils. Suddenly a master appeared in the school whc
taught the vision of Cezanne. This opened the door foi
Baumeister's pent-up talent and in 1913 he had his firs"i
exhibition in "Der Sturm," of which he is a member. Sinc<
then he has become a recognized power throughout Europ<
and is one of the most honored painters by Leger's group ii
Paris. His paintings are to be found in the Folk wan*
Museum Essen, Badische Staatsgallerie Carlsruhe, Gabriel
son Goetheborg, Kissling Zurich, Neuport Zurich and ir
many well known collections in Berlin, Paris and Th<
Hague. He also belongs to the group which is especially
interested in "Raum Konstruktion,'* the division of coloi
space within a room. He lives and works in Stuttgart.

BUCHHEISTERI ^S^

When asked to send a short bio-
graphical sketch of himself, he sent
the following: "Do you know a remedy
against Philistinism? I am a terrible
Philistine. Sad but true, as one sees fit to
think — but it is true. Strange the way
"Der Sturm" constantly needs abstract
pictures, which at the same time have to
be good. Do you know anybody who is
more energetic for art than "Der Sturm?"
You know no one, neither do I. Do you
know a method how- to shake abstract
pictures out of one's sleeve? It cannot
be done — therefore, one has to work like
a Philistine — consecutively — constantly
work."

RESTING

MEMBER of "Der
Sturm." Born in
Dresden in 1892. Thor-
oughly trained in the aca-
demic arts until he became
a virtuoso, which, how-
ever, brought him no spiri-
tual contentment. He dis-
carded it all and began to
amuse himself by working
with odds and ends of
material at hand. Through
this his first abstract work
appeared which brought
personal satisfaction and in
1922 he had his first exhibi-
tion at "Der Sturm."

KUETHE

MEMBER of "Der Sturm/'
Born September 6th,
1898, in Siegen, Germany. He
sent the following manifesto
when asked for a short bio-
graphical sketch: "I found I
could paint when I decided to
live without any protecting
walls, such as a lying
humanity surrounds itself
with in order to hide from
itself. In 'Der Sturm' I
found an expression of a con-
ception of life, which shows

that life must be lived because
of life — that that is its own
purpose. I exhibited for the
first time in 1925 at 'Der
Sturm.' "

VORDEMBERGE

BORN the 17th
November 1899
Osnabrueck. A young
radical who moved to
Hanover to join Hans
Nietzjschke in creating a
group called "K." Ex-
hibited since 1924 in
Hanover, Berlin and
Paris. His works are in
the private collections
in Berlin, Hanover,
Zelle, Dresden, Cologne,
Osnabrueck, London and
Paris.

NIETZSCHKE

T30RN 1902 in Hanover, the son
**-* of an architect, he received his
thorough academic training in that
city. After tremendous inward
upheaval he progressed from archi-
tecture to pure abstract painting
and is now finding his way from
pure abstract painting to modern
architecture. Simplicity is the
ruling keynote of this modern
European architecture which has
found such definite expression
through architects like Gropius of
the Bauhaus, and Oud and Luth-
mann of Holland. Nietsschke ex-
hibited in Hanover, Berlin and
Paris. This is his first introduction
to New York.

KAETHE STEINITZ

BORN in 1889 in Oberschlesien. Was educated in Ber-
lin. Studied art under Corinth, but received her
deeper training in art through her travels in France,
Italy and Spain, where she studied the old and modern
masters. In 1913 she married Dr. Ernst Steinitz and u
the mother of three children.

In 1924 she founded with Kurt Sch witters the "Apossver-
lag," which is created out of the following words:
Aktiv, paradox, ohne Sentiment, sensibel

Active, paradoxical, without sentiment, sensitive
which she feels can be used as a rule of life.

WINTER

v-Ti^1

GERMANY

IN the summing up of Germany and its activity
along the line of art one is impressed with its
scattered vitality in contrast to the centralized
vitality of France through Paris. Like little
flames they rise everywhere to be a beacon
of culture throughout her Republic. This has always
been so, but has not abated since the revolution as everyone
predicted — it seems to be a part of the people — the love of
culture of which art is so essential an expression. Where
France has one city — Germany has almost a baker's dozen.
The leading cities where Modern Art can now be studied
either through its museums or through the activities of the
artists working there, are Berlin, Hanover, Dresden,
Dessau, Magdeburg, Dusseldorf, Essen, Crefeld, Frankfurt
a /Main, Mannheim and Stuttgart.

Among the cities which stand out as causing surprise that
it should be interested in Modern Art is Hanover. Anyone
who knows Hanover and has known it for long receives
a distinct curious reaction in contemplating that the soil
from which Queen Victoria sprang is the same soil which
has produced a Kurt Schwitters and a NieUschke, such
strong Modernists as to draw unto themselves a Kaethe
Steinits, a Kestner Gesellschaft and a Frau Kuppers.

Official Germany has always treated its rebels in art with
generosity and so one is not surprised that the large official
galleries near the Lehrter Bahnhof in Berlin are opened once
a year to Modern Art. This Annual Exhibition generally
takes place in November, because the present Moderns of
Germany call themselves the "November Gruppe" after
the German revolution of November, 1918.

No country has so generously opened its doors to foreign
art and artists as has Germany. You will find the expression
of Modern Art in its various museums representing many
countries. Germany has always been more liberal than any
other official group and the early works of Manet, Renoir
and Monet can be studied better in Germany than in France.
It is the same with the living artists of today. Her soil
seems specially adapted to bring forth a people whose curi^
osity as to the arts of other countries is as keen as ours —
-with us there seems to be a natural reason, for we are the
melting pot of the world. What causes this phenomena to
express itself in Germany is a problem greater minds than
mine must solve — but it is a wonderfully stimulating
atmosphere to work or play in.

MONDRIAN

U^»

HOLLAND

HOLLAND has produced
three great painters
who though a logical expres-
sion of their own country,
rose above it through the
vigor of their personality —
the first was Rembrandt, the
second was Van Gogh and the
third is Mondrian. When one

compares Rembrandt with the men of his period, men as great as Franz;
Hals, one realises the strong individuality of the man. So Van Gogh
stands out in contrast to Mauve, Israels and the fine painters of his
period. And again you find it in Mondrian, who with consequential
slow development rose from that strong individualistic expression into
a great clarity. Nowhere has such clarification been reached as in the
paintings of Mondrian. This group, of which Mondrian is the leader,
has termed itself "De Stijl" and consists of Mondrian, Van Doesburg,
Huszar, Vantongerloo, Oud and Van Eestren. The precision and
simplification of their work, whether in painting or architecture, has
in the severity of its line, a kinship with the early old Spanish monastic
architecture, in spite of its being an absolute expression of today, and
not physically related to it. In both there is a beauty and restfulness in
its very severity.

The young painter Caesar Domela is considered one of Mondrian's most gifted pupils.

■H

COMMON ERROR

VANTONGERLOO

GEORGE VANTONGERLOO was
born in Antwerp in 1886
and studied at the Beaux Arts at
Brussels. He, therefore, does
not belong in this Dutch group,
but through printer's error was
placed here, for his name is very-
misleading to Americans. His
opening exhibition met with
such success that Her Royal
Highness, the Countess of
Flandres enabled him to continue
his studies. After her death, His
Majesty, King Albert, took over
the protection.

His works are to be
found in the Museum
at Brussels and in many
private collections.
He fought during the war
and being wounded was
permitted to go to Hol-
land for recuperation,
where the Queen of
Holland became deeply
interested in what he
was doing and bought
several of his works. He
wrote a brochure called
"L'Art et son Avenir,"
which develops the
thesis of exact space and
color. Because of his
health he is now living
at Menton in France.

BELA KADAR

BORN at BUD A
pest in 1877. To
quote: "In the year
1922 I was discovered
by Herwarth Walden.
Before this time I was
hardly recognized as
an artis't. Since my
exhibition I am con-
sidered one. That I
am recognized as an
artis't is chiefly due to
Herwarth Walden, as
on the whole the
new movement in
art owes its develop-
ment to Herwarth
Walden, the pioneer.
Since Herwarth
Walden is still in the
midst of the battle, I
am fighting at his
side."

HUNGARY

SCHEIBER

BORN in 1873 in Budapest }
the oldest of ten chil-
dren. He started life as a
locksmith, then became a sign
painter and now an artist.
Scheiber is a member of "Der
Sturm' ' and is bound up
heart and soul with the fight
that Herwarth Walden is
continuing for freedom in
art. Besides exhibiting in
Berlin, he has had one-man
shows in London and Vienna.

P
N

VILMOS
HUSZAR

BORN in Budapest he showed extreme talent
as a painter when very young. After
graduating from the art school, he went to
Munich, where he met a Dutch lady who in-
vited him to Holland and introduced him to
Joseph Israels. Later he came under the in-
fluence of Van Gogh and with this influence he
grew and developed until he felt the need oi
expressing his own time. This he did in joining
Mondrian and Van Doesburg, the group called
4'De Stijl," which is fighting for the simplifica-
tion and purification of color in space.

PERI

BORN in Budapest in 1889.
He is a member of "Der
Sturm," who discovered him
in 1922 and introduced him to
the world. Peri takes the
simplest object and simplifies
the forms to an abstract pre-
cision. He was the nr£l to cut
these paintings into shapes of
their own, so that they would
change the shape of the wall
through their shape. In this
way a small painting became a
wall decoration and changed
the entire section of the wall.
As many another young
painter he has turned from
painting to architecture and
has made many designs for
workmen's cottages for the
Soviet Government.

~65

MOHOLY-NAGY

ORN in Hungary in 1895,
he first took up the study

of jurisprudence at the Uni-
versity. He was an officer
during the war and devoted his
spare time to writing. He be-
longed to the group of the
Hungarian Activistic Artists,
MA, that well-known Hun-
garian monthly. But literature
did not fulfill his spiritual needs
and soon he turned his atten-
tion to painting and joined in 1923 the Const ructivists. In 1920
he came to Berlin and in 1923 was called as professor to the
Bauhaus, now in Dessau. Like Man Ray, he experimented a
good deal with photography and has taken up what we know in
America as Rayographs. Among his most superb work are the
books which he has composed typographically for the Bauhaus.
Another remarkable contribution are the spacial color divisions
for rooms, which he designed for and through the Bauhaus. On
the opposite page is a reproduction of a gallery, designed by the
Bauhaus and showing the constructivist paintings by Moholy-
Nagy. When entering this beautiful, spacious room, one is not
conscious of the variety of colors on the walls until one has
been there for some time and let them speak to one, so exquisite
is the harmony and so delicate the relationship. He is the author
of the Bauhaus book "Malerei, Photographie, Film" and a
constant contributor to the pamphlet "De Stijl," Ma, Der
Sturm, etc.

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ICELAND

FINNUR JONSSON

EVEN Iceland could not
escape the influence of
these cosmic forces which are
now at work and so we find
a painter of distinction, Fin-
nur Jonsson, who expresses
Modern Art in nationalistic
terms. His first exhibition at
"Der Sturm" was in the
year 1925, which met with
such success that almost
everything was bought by
private collectors.

SEVERINI

BORN in Tuscany, Italy, in 1883.
To quote: "I first studied art in
Rome, but my intellectual and artistic
maturity was reached in Paris. ' ' With
Boccioni he was the leader of the
famous Futuristic Exhibition in Paris
1912.

GIRARDO
DOTTORI

BORN at Perugia, where he
studied at the Academia
di Belle Arti. He joined the
Italian Futurists in 1913, that
group which might have taken
as their motto, the saying of
Mallarme. To quote : * 'To name
is to destroy, but to suggest is
to create." He is deeply im-
pressed with the mysticism of
his Italy and especially with
the teachings of St. Francis.

W 1

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GIORGIO
DE CHIRICO

BORN in Greece in 1888 of
Italian parents. When
eighteen he went to study
art in Munich and later in
Italy and France, but he pre-
ferred to work by himself.
In 1911 he exhibited for the
first time in the Salon des
Independants, Paris. In 1915
he returned to Italy where
he did research work till
1925, when he again returned
to Paris. His most important
epoch he developed in Italy
during these years, when he
began to paint a series of
pictures of still life with

painting, which he called
* ' Interieurs Metaphysiques, ' '
each article playing the same
lyrical role in the whole paint-
ing as the sky plays with the
earth in a landscape. In his
research he is seeking to ex-
press with the greatest force
possible the images and fantasies
which haunt his spirit. His
most original group consists of
his strange figures with feat-
ureless heads who express so
much through the action of
their bodies and hands.

P I

*<;

PAL A DIN II BoRN at Moscow of an Italian father and a
— ™—~~— -"""■* Russian mother. One of the most vigorous
personalities of the Italian group, not only as a painter, but as a
writer as well. As a critic he has contributed to many Italian papers
and magazines and is the art editor of the Prager Presse. He has
published two books "Art and Futurism" and the "Art of Soviet
Russia." He created the mechanical ballet "An Engine in Love,"
acted by the famous dancer Ikar of the Moscow Theatre. To use his
own words "he concocted the music, consisting of jazz bands, vacuum
cleaners, claxton horns, motor cycles, clarionets and trombones". He
has also largely collaborated at the Roman Teatro degli Indepen-
dent. He is a painter of distinction, as shown by the picture repro-
duced here.

PANNAGGI

ACCORDING to Bragaglia, Pannaggi, who is 25 years old, is on*
t meter twenty^seven centimeters high, weighs now 75 Kg., ii
the antithesis of Giacomo Leopardi and sprang from the Marches jusi
like the subject of this study. This extremely modern painter and
architect adds to his archaeological aspect the gloves of a boxer, bu
when he drives his car, he can still recall the charioteers of old
He cultivates internationalist ic art, which derives from the sun o

Italy and the light of our lefty tradition with in-
calculable ardor and the Olympic sense of classic Italian
harmony. It is these national characteristics of pure
catholic art which are so amazing because of their
warmth and superb rhythmical dignity in this inter-
national revolutionary who lives under the shadow
of Michael Angelo's dome. His victory is that of
Italian Classicism in the new spirit.

Pannaggi's first exhibition was held at Bragaglia's
in 1921. Later he exhibited in Prague, Berlin, Bruenn,
Dusseldorf, Antwerp, Riga and Vienna. As a painter
IvoPannaggi is well-known in Russia, France, Belgium
and Austria. As an architect he was asked to do over
the Palawio Zampini in Esanatoglia, which he did with
plastic innovations based on the boldest constructive
conceptions together with tapestries, stained glass and
luminous fountains.

Bragaglia considers him one of the most courageous
contributors to the modern Italian scenic revolution,
whose constructions will effect a radical reform with-
out sacrificing the traditions of the past.

p
u

YASNO KUNIYOSHI was born in
Okayama, Japan, in 1890. When
sixteen he came to America to study
art in Los Angeles. Later he came to
New York to study at the Art
Students League and since 1922 has
exhibited at the Daniel Gallery. In
1925 he went for a year to Paris and
the South of France.

64~

N9RMS/

RANGHILD KEYSER

BORN 1897 in Oslo, Norway. Her first studies were in private aca-
demies under Backer and Paul Gauguin, the son. Two years
ago she came to Paris. She is an unusually gifted young woman whose
work should carry her far.

~65

POLAND

SUR LA PLAGE

ALICIA HALICKA

BORN in Cracow in
1895, she came to
Paris in 1913 and has
exhibited at the Societe
des Independants since
1920. Her pictures are
in the collections of H.
Kepferer, Paris; Barnes,
Philadelphia; Rein-
hardt, Switzerland and
are to be found in the
galleries of Weil and
Druet. She has illus-
trated many books and
is one of the best
known of the indivi-
dual artists.

■ I

LOUIS MARCOUSSIS

WAS born in Warsaw, came
to Paris in 1912 and was
asked to join the Section d'Or.
Served during the war. Has
exhibited with the Cubists in
England, Belgium, Germany,
Austria, Italy and Switzerland.
In America his works are in the
private collections of Barnes,
Philadelphia; Bartlett, Chicago;
Wanamaker, New York, and
Katherine S. Dreier, New York.
He is one of the most brilliant and
original of the cubist group and
was among the fir^l to work on
glass.

BUbv^NIA.

BRANCUSI

THE most brilliant of
modern sculptors, ac-
claimed by them all. Born
in Rumania in 1876, he
reached Paris after having
already completed his
studies at Bucharest and
laid the foundation of his
fame through his early ex-
hibitions. For a short
while he went to work
with Rodin, but their
point of view differed tp
such an extent that he
soon decided to work out his theories in art by himself. Through-
out the years he has been searching for the essence of his subject
and does not re£l until he has reached perfection. This has often
given an impression that he repeats himself, but the perfect eye sees
the difference. His works are to be found in many private
collections and as far weft as the Museum of Portland, Oregon.

,^'

France Has
207054 Sq. Miles

■

THE service which Soviet Russia rendere \\ d to the rest of the world
has been chiefly that it has scattered m N\ ost of its creative and
living spirits over the whole world, like the s >\ ower sowing his seed,
so that all might benefit by that great spiritua >\ 1 contribution which
Russia has to give. Before the revolution Russ>\ ia was such a closed
book to the average person that few knew of t>\ he spiritual, intel-
lectual and artistic richness its people possessed to su\\ ch a highly devel-
oped degree. But now we find them in all countrie^ s, these creative
forces, showing us beauty along lines which we neA ver visualised.

~69

One of the most important of these men, to whom this book has been
dedicated and who is celebrating his 60th birthday this year, is Wassili
Kandinsky. It is true that before the war he had left Russia to start
with Franz Marc the great new movement in Germany called "Expres-
sionism," or as Professor Cizek would call it "The awakening of feeling,
as expressed through art." It was he, who with Franz Marc started
the group called ' 'Der Blaue Reiter," which was to be such a tremendous
force in Germany — an almost greater force than cubism in France, for
it was based on less narrow conceptions and therefore was able to take
deeper root in the soil of the nation in which it was planted. It enabled
one to understand cubism, whereas cubism did not enable one to
understand expressionism.

During the war Kandinsky returned to Russia and after the revolu-
tion was asked to organize 43 new museums for the Soviet Government.
This was a superb task, as they gave him full freedom of selection and
since the Soviet Government belongs to the experimental expression of
the new era, the new art had much kinship with it. When this work
was accomplished Kandinsky returned to Germany, since he felt that
his work temporarily was completed in Russia. Here, he was called
to the Bauhaus, which had been started in Weimar under the leader-
ship of the modern German architect, Walter Gropius, who was
gathering an international group of men around him.

There are two other Russians, who stand out with tremendous force
and vitality and who have introduced a new medium into the world of
sculpture, which has hitherto not existed. I am talking of Pevsner and
of his brother and pupil Gabo. In 1920 they issued a manifesto, con-
sisting of five theses, of which the two last, given here, are the most
important :

4 — We deny that circumference is the one means toward form in space.
One cannot create space through circumference. Just as one cannot
measure water with a yard stick. Space is nothing else than infinite
depth, therefore, we consider depth as a measure of space.
5 — We deny the static as the only measure of rhythm. We insist there
is a new element in the pictorial arts. We insist that kinetics is a
new element in art. It is the foundation of the outward reality
of our time.

The outgrowth of these thoughts was the creation of sculptural
three-dimensional pieces built out of celluloid. Some of them in abstract
forms emphasizing the element of depth instead of our face.

Besides these, there are two more important groups that have come
out of Russia, the Suprematists and the Constructionists.

The Suprematists, who are leaving an eventful influence on their gen-
eration, started on the following basic principles : The simplest pictorial

7cT

KANDINSKY

means were chosen,
with rhythm as an
inter-relationship
and universality of
appeal. The pictures
most consonant
with these princi-
ples are simple geo-
metrical forms in
simple pure colors.
Simple as these
principles are, they
allow for number-
less combinations of
the greatest variety
in the rhythm of
related planes, in
the balance of dia-
tributed color
masses, in the pro-
portion between
full and empty
spaces. Malevitch
was the founder,
leader and theorist
of this movement
and wrote a book
4 'From Cezanne to
Suprematism, A
New System in
Art." His theories
border on the mystic .

The fourth group, or school, has been that of the so-called Con-
slxudlivists. The relation of the Cons^rucflivisls to the Suprematists
is so close that it is hard to know where the one ends and the other
begins. The Construcl:ivisT:s aim for the same precision, order and
organisation as science. This expression has taken hold of the Imagina-
tion of many artists in other countries, as for instance, Moholy-Nagy,
the Hungarian, as well as Paladini and Pannaggi, the Italians, whereas
one feels that the Dutch group, led by Mondrian, are more closely
related to the Suprematists.

Aside from this the Russians Gabo and Pevsner have brought atten-
tion to the value of kinetics meaning thereby to use actual movement
as an element of expression. This thought of movement Marcel
Duchamp has also been working at for years. Very few examples of
these experiments have reached completion, but there are sufficient
to have established what one might call sculptural kinetics.

DAVID BURLIUCK

BORN in Russia July 22nd, 1882. In 1898 he began his study
of art at Kazan, which he continued in Odessa in 1902. A
year later he left for Munich and in 1902 he went to Paris. In
1905 he organized the first modern exhibition in Russia and in
1908 the first company for the publishing of futuristic liter a-
ture. From 1910 to 1918 Burliuck published thirty Almanachs
devoted to the problems of the forms in art and literature.
During this sametime he lectured on Modern Art and Litera-
ture in thirty-three cities throughout Russia. In 1910 he re-
turned to Munich, where he joined Kandinsky in the organiza-
tion of the "Blaue Reiter." In 1914 "Der Sturm" organized
Burliuck's first independent exhibition in Germany. In 1918
he was officially honored in Russia by the title of "Father of
the Russian Futurists" in a special manifesto signed by them.
In the same year he left Russia for the East reaching Japan in
1920, where he stayed for two years. In 1922 Burliuck reached
New York and in the autumn of 1923 Dr. Christian Brinton
and Mr. Fox, Director of the Brooklyn Museum organized an
exhibition of 44 of his canvases at the Museum. In 1924 he
became a member of the Societe Anonyme which organized his
second important exhibition in New York. Few men have so
long and constantly worked for modernism as Burliuck.

CONSTANTINE ALADJALOV

BORN November 5th, 1900, at Bakou, in the Caucasus. When
he was eight his family moved to Rostoff, where he began
his art studies and had his first exhibition at the age of sixteen.
Later he went to Petrograd to continue his studies. After the
outbreak of the revolution he returned to Bakou where with the
famous Russian poet Serge Gorodetsky, he founded a little
theatre and experimented in producing modern plays and settings.
From there he "went to Persia, then to Constantinople, reaching
New York, January, 1923. His pictures are already in the mu-
seums of Donskoy, of Rostoff", of Helsinfors and at the National
Museum of Bakou, also in private collections at Petrograd, War-
saw, Rostoff, Tiflis, Constantinople and New York, as well as in
the collection of the late Coutchuc Khan of Persia. Extremely
gifted with a rare sense of beauty in proportion.

PEVSNER

Pevsner was born at Moscow and
after completing his studies of art
at the Academy in Kiev, where he
carried off the Gold Medal, he went
to Paris in 1911. In 1912 he returned
to Russia, where he became a
professor of art at the Moscow Art
School. Here he was surrounded
by a whole vital group of young
Suprematists. However, he was
considered too radical and after the
revolution he returned to Paris,
where he is working now. Art to
Pevsner is the most holy of holies
and his approach therefore towards
his work, or what he demands of
others towards their work, is far
more related to the Chinese attitude
of the artist to his work than the
western point of view.

GABO

BORN in Brjansk, August 5th, 1890, a brother of Pevsner, but to avoid
confusion he dropped his last name and simply kept the first as his
professional one. He considers himself the pupil of his brother and stands
in very close spiritual relationship with him. He was trained as an engineer,
but was unable to complete his studies because of the war. Since
the war he has devoted himself to sculpture. The new stereometric spatial
circumference reached its full realization in 1915. To complete this con^
ception, he withdrew into the mountains of Norway until he and Pevsner
in 1920 proclaimed their manifesto. Since 1925 he has been living in Berlin.
Many of his 3-dimensional constructions are actual designs for public
fountains, monuments, etc. It would be interesting to find some muni~
cipality that had the courage to use them.

s
u

LISSITZKY

TN his life film, as he calls this short
■*■ biographical sketch, Lissitzky states,
that he was born a couple of dozen years
before the big October revolution — that
some hundreds of years ago, his ancestors
helped in increasing the world by their
discoveries — but that their descendants,
the present generation, are creating a
period more marvelous still. They in*
creased the earth — we decrease it on the
one hand, but extend Space and Time on
the other. To Lissitzky the cleavage in
1918 between Yesterday and Tomorrow
was tremendous and he for one wants to
do everything to make it more pronounced.
To him the old art belongs to the period of
the dinosaurs and not to the period of the
radio. "But why, he asks, "do you call our
Modern Art abstract? Is the radio wave
abstract or realistic?" His present period is
a period of black and white with a flash
of red*

ALEXANDER
ARCHIPENKO

HE was born in southern Russia and reached Paris
when quite young. Extremely gifted, he began to
develop in the freedom of Paris an art of his own which
was to amaze and delight all who saw it. He was the
first who took up the question that that which is
concave is also convex and through the illusion of the
eye gave the same results. His sculptured painting was
another remarkable introduction and it is a pity that
for a time he has abandoned this form of expression.
In 1921 the Societe Anonyme gave him the first exhibi-
tion which was followed in 1923 by a second one by
the same organization. His works are to be found in
most of the museums of Europe.

NICOLAI VASILIEV

BORN near Moscow November
3rd, 1889, he graduated from
the Academy of Fine Arts, Moscow,
with the greatest honor and re-
ceived the fir£l prise in the exhibi-
tion in 1914. In 1918 he became
Assistant Professor at the Academy
in Moscow.

RUSSIAN TEA

NICOLAI CICKOWSKY

BORN in 1894 in the city of Minsk,
White Russia, he studied in the
Vilna Art Academy and the Moscow
Higher Art School. He reached the
United States in 1923 and exhibited at
the Sesqui-Centennial in Philadelphia
and other American exhibitions, work-
ing with Mr. Narodny in the Artel of
Arts. His painting reproduced here
represents a famous Russian legend.

^/jk ^3%

^^3

JP ^MZl

:» JB&

Torso by PEVSNER

i^\NE of the leaders of the
^^ surrealists of Paris, a re-
markably gifted young
Spaniard with a Strong individ-
uality. Though one may not
like his pictures, one cannot
forget them.

PICASSO

A MIDDLE-AGED gentleman who started life full of en-
thusiasm and helped to create the cubi^l movement,
which, however, is far bigger than he. He is a master in
his own way. Though a fighter in his youth, he settled
down to retirement as far as the world of art goes today
painting his own individual pictures .

JUAN GRIS was born at Madrid
C D T C Mar°k 23rd, 1887. He came to
VlJKl^ Paris in 1906, where he met

Picasso and during the latter'6

period of energy helped to create

with him and Braque, Villon,
Duchamp, Metzinger and Gleizes, the cubist
movement. His is an art of synthesis, an
art of deduction — he considers the archi-
tectural side of a picture, the mathematical,
the abstract side, which he wishes to hu-*
manize. He has become one of the most
popular painters to be bought in private col-
lections in Switzerland and Sweden, as well as in Paris. He
belongs to the group connected with "L'Effort Moderne,"
organized by Leonce Rosenberg.

^o*

CARLSUND

ORN in Petro-
grad of Swed-
ish parents in 1897.
Studied art in Dresden, Chri&iania and
later in Paris with Leger. His Con-
structions for an Observatory, exhibited
here, are sketches to be enlarged to 12
ft. and were inspired by the new
Ein&ein Observatory at Potsdam. They
belong to Mr. Rubin^fcein of Helsingfor
and were kindly loaned by him for
this Exhibition.

84~

SWEDEN

OSTERBLOM

BORN in Stockholm, in
1903, studied art in
Berlin and later came to
Paris to £ludy under Leger.
He is a young artist of
considerable promise.

BORN at Berne in 1882. Has developed an art
peculiar to his talent, based on the expression
a child might render of its thoughts, but with a
master stroke and a definite conception which no
child possesses. Had a thorough academic training
which, however, never interfered with his in-
dividuality. Prior to the war he took a trip to
Italy which left a very deep impression on him.
Klee has been a professor at the Bauhaus, since its
inception at Weimar in 1919, immediately after the
revolution, and which in the autumn of 1925
moved to Dessau.

His art is a curious mixture of caricature and
mysticism with a remarkably fine sense of color,
which he sometimes uses in textiles, for which some
of his designs are beautifully fitted. A rare and
gifted artist:.

SWITZERLAND

CROTTI I "BORN of a violent current of air in
I a lovely valley at the foot of the
glaciers. Fresh air — consequently warm blood. In-
dependent spirit, without fortune, who earns his
living for the liberty of his art. Bored by all theories,
he roams through the world of thought without
ever surrounding himself with any formula. There
is no valuable formula for creating art, only invent-
tion counts. Each picture should become a new and
different world. His aspirations are idealistic, tend-
ing towards the art of pure expression and the eleva-
tion of the spirit." He had a thorough academic
training under Lefevre and has exhibited in the
Societe des Independants and the Autumn Salons
since 1906. In 1915 he exhibited in New York with
Marcel Duchamp, Metsinger and Gleises.

JOHANNES
ITTEN

MEMBER of "Der
Sturm, a Swiss with
a rare vision of color,
which he uses in abstract
design. The color recalls
the beauty of the flowers
of Switzerland from
whence he comes.

•qflO

tfP

S<*

France has
207054 sq* m.

A T Xfl} 1? T> QTTFnT TT7 IN 1906 a sma11 gallery \\ opened at 291
rV1^jrjX1^J^f OAlI^VJl^lA£* Fifth Avenue under the ^ direction of

Alfred Stieglits, the photographer. It was a great task he had set ^ himself to do,
to bring over and show the works of men who, in his judgment, had a ^ freedom of
spirit in art which the general academic type did not include. One of \\ t h e very
first he brought over and which at that time was considered very bold, ^ were the
drawings of Rodin, which since have found a place in the Metropolita \\ n Muse-
um. Today it appears humorous that this was considered revolutionar ^ y and
that it demanded great courage to show them. It was here also that Picas \\ so first
had an exhibition as well as many another, both American and foreign pain \\ ter. In
conjunction with this gallery a few years later there appeared a brilliant paper \\ called
"291." This whole activity was like yeast in the leaven of art in New Yor \\ k and
everybody who is interested in building up a unique place for New York in\\ the
world of art is grateful to Alfred Stieglitz for this modest beginning. During \ the

~89

war all such activities came to an end when we
joined and so it was not until the autumn of 1925
that Stieglitz once more assumed the responsibility
of what he now terms the "Intimate Gallery"
where all who are not tired are welcome. Un-
fortunately ill health has forced him to concentrate
on ju^t a few American artiils, but the work that
he is doing is of such value that one is grateful indeed
that he is still in the fight. The Int imate Gallery
presents Georgia O'KeefFe, John Marin, Arthur
Dove, Marsden Hartley, and one other person each
season whom he may choose.

No one has done more for the art of photography
than Alfred Stieglitz who was born January first,
1864. In recognition of his work he has received 150
medals for photographic achievement from Asia,
Europe and America, including the rare honor of
being made an Honorary Member of the Royal
Photographical Society of Great Britain which in
1924 awarded him the Progress Medal for services
in founding and fostering pictorial photography in
America and especially for initiating and publishing
"Camera Work," the moit artistic record of
photography ever attempted. He is represented in
the art museums of Dresden, Brussels, Boston, The
Albright Art Gallery, Buffalo, the National Mu-
seum at Washington, etc.

k/ IV

\ aH BTbW^BL IVbV ^BW
V. IbVI BvJk bbI

4 \Wr

i*?l

^■^HL^B b^^ 1 P^: '

GEORGIA O'KEEFFE

BORN in St. Paul, Wis., November 15th,
1887, she went to Chicago to study at
the Chicago Art Institute and later came to
New York to study at the Art Students
League. In 1912-1914 she worked as teacher
of art at the Virginia University under Alon
Bement. In 1914 she assisted Arthur Dow
and became Supervisor of Art in the public
schools of Amarillo, Texas, and of the West
Texas Normal School in 1916. She ex-
hibited at 291 in 1916 and 1917 and in 1923-
1924 at the Anderson Gallery. She is now
one of the seven members of the Intimate
Gallery. Her works are in the Philips
Memorial Gallery, Washington, D. C. and
in various private ones.

JOHN MARIN

BORN at Rutherford, N. J. in 1872, he studied
art at the Philadelphia Academy and later
came to New York to study at the Art Students
League. In 1907 he went to Paris. His first
exhibition at "291" was in 1910 and almost
yearly thereafter. He is one of the seven
Americans of the Intimate Gallery. His works
are in the Luxembourg, Paris, Chicago Art
Institute, Metropolitan Museum of Art,
Rochester Art Museum, Philips Memorial
Gallery and in many important private collec-
tions. He is universally considered one of the
most brilliant and gifted of American artists.

ARTHUR G. DOVE

BORN in Canandaigua, N. Y., August
2nd, 1880, he took his A.B. at Hobart
College and Cornell. Started life as a maga-
zine illustrator with great success. His first
exhibition held at "291" was in 1912, when
he became imbued with the modern spirit
and he is the only American Dadaist. An
American artist of rare distinction. He is
represented in the Philips Memorial Gallery
and in many private collections.

MARSDEN HARTLEY

BORN at Lewiston, Me., in 1878, he won the scholar-
ship in the Cleveland School of Fine Arts and came
to New- York to study art at the Chase School. His
fir^l exhibition was at "291" in 1909. Since 1912 he has
traveled extensively in Europe and joined the "Blaue
Reiter" in Munich that year. He is one of the seven
Americans of the Intimate Gallery. His works were also
shown at the Societe Anonyme during 1920 and 1921,
before which Society he also gave several brilliant talks
on art before returning to Europe. His leaving America
has been a decided loss, as he had a great gift for stimulat-
ing people through his lectures. He is represented at the
Cleveland Art Museum and is the author of "Ad-
ventures in Art" and of 25 Poems.

MAX WEBER

BORN in Russia in 1881, he, came to America
when ten years of age and received his
early public school education in Brooklyn.
In 1905 he went to Paris to study art, in 1906
to Spain to study its paintings and continued
the study of the old masters in Belgium, France
and Italy. In 1906 he began to show marked
inclination towards Modern Art, having been
diverted from the academic art by the work of
Cezanne and the great Primitives. Subse-
quently he was identified with the leading
spirits of "Les Fauves" and enjoyed the
intimate friendship particularly of Henri
Rousseau, whose work he was privileged to
exhibit for the first time in America in 1910.
In 1908 he helped Matisse to organize his first
class in Paris and became one of his most dis-
tinguished pupils and is acknowledged as one

of the foremost pioneers in Modern Art in America. In 1909 he returned to New York,
where he has remained. One of the greatest services Max Weber rendered American
art was in taking a class at the Art Students League. He has frequently exhibited in
New York and Paris and in 1923 had a one-man show at the Bernheim Jeune Galleries.
He is the author of Cubist Poems and Thoughts on Art and Primitives.

MAN RAY

BORN in Pennsylvania in 1891,
he came when quite a young
lad to New York where he studied
in the technical schools and was
trained as a technical draughtsman
for engineering. In his spare time
he painted and was one of the
original group to come out for
Modern Art, and already in the
early years of 1919 and 1920, when
nothing had reached us from Russia,
he was expressing himself in what
would now be called the conSlrucfti-
vistic forms. When in 1920 the
Societe Anonyme was organised he
threw his energy into the move^
ment. However, he belonged to
those artiSls in America who had
too small an audience to rely on, so
in 1921 he went to Paris where his
Rayographs were acclaimed with
tremendous enthusiasm. In place of
actual photography they are objects
placed on sensitised paper with
light played over them. Two of
these are reproduced here. Paris
apparently was his home, for he has
found a place for himself there both
artistically and financially, which
has made him quite independent.
To be photographed by him is the
laSl word in photography in Paris
and this alone would constitute a
success.

JOHN STORRS

BORN in Chicago in the early
80's. He went to Paris to
Study art after completing his art
training in his own city. Since then
he has made Paris his home. He is
a strong individualist who quietly
goes his own way, developing his
own forms in art with great vigor
of expression.

BORN in Pittsburgh in the late 80's, he went to Munich
to complete his studies in art after finishing his art
education in his own city. In Munich he won the official
scholarship which entitled him, though a foreigner, to the
use of a £ludio with the necessary models, paint, brushes and
canvases for one year. However, this academic success did
not satisfy his soul and soon he began to revolt and work out
by himself his own theories of expression in art. From
Munich he went to Paris and at the outbreak of the war
returned to New York, where he joined that active group
led by Marcel Duchamp, who was then here. In 1922 his
small fortune was swept away and unfortunately he had to
turn to business. What the loss of such an artist has meant
to the art world of America, one cannot gauge, as he was
one of the mo^l brilliant American arti^ls of this day. It
is one of the great tragedies that New York has lo£l two of
its mo£l individual and important men through financial
reasons: Man Ray, who had to go to Paris to find success and
Covert, who had to become a traveling salesman for a big
firm in Pittsburgh.

KATHERINE S. DREIER

BORN September 10th, 1877. After com-
pleting her art studies under Walter Shir-
law in New York, she went for a year to
Paris and later to Munich. Then a sesaon in
Italy, where she studied the technique of the
old masters in Florence under Vermaeren,
returning to the United States in the autumn
of 1912. Through Covert she was invited to
help organize the Society of Independent
Artists in New York in 1917. She resigned
after a year and in 1920, with Marcel Du-
champ, organized the Society Anonyme.
Prior to the war she had one-man shows in
London, Frankfurt a /Main, Leipzig and
Dresden, New York and Boston, and was
shown with group exhibitions in Paris,
Dresden, Munich and Berlin. Her works are
in the Houston Museum, Texas and in private
collections in London, Paris, Bremen and
New York, and a Mural, her first work, in
the Chapel of St. Paul's School at Garden
City, L. I. She is the author of the transla-
tion of the Recollections of Vincent Van
Gogh by his sister, of 4 'Western Art and the
New Era" and of a social study called "Five
Months in the Argentine."

JOSEPH STELLA

BORN in Italy in the early 80's, he came to
this country when a boy of sixteen, where
he received his early art training. Returning
to Italy and later to France, he joined the
futurist and cubist group. At that time he
-was imbued with the vitality of this new form
in art and worked with tremendous vigor.
He never however abandoned his love for the
realistic, especially his love for flowers and
birds and one of his most perfect impressions is
his "Tree of Life," under which all the birds
and flowers of Europe and America seem to
gather. Though in time he became an Ameri^
can citizen and is now classed an American, he
is essentially Italian in liis conceptions and
strangely has turned with great unconscious
eagerness towards a presentation of Italian
ideals. He returned to Italy in the summer of
1926. A strong vital figure in art, one fol*
lows him with interest at every new turn of
development.

100

BORN in New Jersey in 1864, his family
moved to New York when he was still
a child. Here he received a thorough art
training and carried off the Medal the first
time he exhibited when only eighteen.
But he was too great an individualist and too
delicate and sensitive to meet with the sue-
cess which this achievement foretold. Being
an artist with a personal vision and removed
from all ideas of reality, he soon was for-
gotten by the art world of New York,
which especially in the last half of the
nineteenth century devoted itself to genre
pictures. However, in 1917 he sent some
pictures to the Society of Independent
Artists and was rediscovered by them, for
the unusual quality of his work proclaimed
in every line the fine lyrical quality of his
art. Since then the Societe Anonyme has
constantly exhibited him.

LOUIS EILSHEMIUS

101

WALKOWITZ

BORN in Siberia in 1880, he came to
the United States as a child and
studied art under Walter Shirlaw. Later
he went to Paris, returning to the
United States in 1907. Ever since his
return he has devoted his spare time to
the promotion of Art in this country.
For some time he was associated with
"291" and later with the Societe Anon~
yme. His influence among his own
groups has been very profound. His
earnesly, sincerity and devotion to^
wards art is very beautiful. His paints
ings are mostly in private collections in
France, Italy, England, Germany and
the United States. In 1925 B. W.
Huebsch published a hundred of his
drawings in a book by that title "A
Hundred Drawings."

102

WALTER PACH

BORN in New York in 1883, he studied under Leigh Hunt,
Chase and Henri, continuing his studies in Europe for
the most part independently. In 1913 he helped Arthur B.
Davies and John Quinn to organise the now famous Armory
Show. His fine appreciation of the works of the free lancers
in art caused him to be called upon to write for Scribner's
and many other magazines on this subject. Though he has
not abandoned his painting, he has devoted the greater part
of his life to lecturing on Modern Art in most of the mu-
seums of this country as well as at various universities,
besides the University of Mexico and the Ecole du Louvre.
He is the author of " Masters of Modern Art" and of
"Georges Seurat," as well as the translator of Elie Faure's
"History of Art."

103

WILLIAM ZORACH

BORN in Russia in 1889, he
came to the United States
when quite a child and studied
art in Cleveland, Ohio. Later he
came to New York, where he
entered the National Academy
of Design and the Art Students
League. His works are owned
in the private collections of
Lathrop Brown, Esq., Mrs.
Nathan J. Miller, Ralph Jonas,
J. F. Schwarsenberg, Esq., Albert
Gallatin, in the Howald Collect
tion, Columbus, Ohio, the
Philips Memorial Gallery, Wash'
ington, D. C. and by Mrs. Harry
Payne Whitney of New York.
He has a strong personality with
a very fine sense of line. In his
-water colors he shows his gift
as a painter.

104

MARGUERITE ZORACH

WIFE of William Zorach, she was born
at Santa Rosa, Cal., in 1888. She
went to Paris to study art and on returning
to America developed a very rare and un-
usual expression, based on the old New
England hook rugs. Two of her very finest
examples done in this style are now owned
by Lathrop Brown, Esq. These are ' 'New-
York" and "The Family Supper." Besides
this she is also a painter and is represented
in the collections of Mrs. Nathan J. Miller,
Ralph Jonas, Mrs. Maurice Wertheim, Mrs.
Daniel O'Day and others.

105

PRESTON DICKINSON |

Was born in
New York in
1891. Studied art at the Art Students League and in
1910 went to Europe, where he continued his studies
at the various museums. In 1915 he returned to
America and has been exhibited at the Daniel Gallery
without a break for the pasl: seven years. His works
are to be found in the museums of Cleveland and
Brooklyn, in the Pennsylvania Academy of Fine Arts
and in the Philips Memorial Gallery at Washington.
He is a very finished painter.

106

WAS born in
North-

| JAY VAN EVEREN

castle, N. Y. about forty years ago and received
his training as architect at Cornell. He went
to the Art Students League to £ludy art and
has devoted his life to the research and exten-
sion of the domain of pictorial design. He has
mural decorations in the De Witt Clinton High
School and in various private residences in New
York and Newport.

107

CHARLES
DEMUTH

WAS born at Lancaster, Pa., on
November 8th, 1883. He studied
art at the Pennsylvania Academy
and went to Paris first in 1907.

He returned to Paris in 1912 and
again in 1921. His works show great
sensitiveness of design and feeling of
beauty for the material object he
draws or paints. He is represented
in the Metropolitan Museum, the
Brooklyn Museum, the Cleveland
Museum, the Fogg Museum at Har-
vard, Cambridge, the Rochester
Memorial Gallery, the Philips Memo-
rial Gallery and was awarded the
Silver Medal at the Sesqui-Centen-
nial in 1926.

108

NILES SPENCER

WAS born at Pawtucket,
R.I. May 6th, 1893 and
studied art at the Rhode
Island School of Design. Later
he went to Paris and Italy.
His fir^l one-man exhibition
was held at the Daniel Gallery
in April 1925. His work is
represented in the Newark
Museum, in the Philips
Memorial Gallery, Washing-
ton and in a number of private
collections.

109

LOUIS LOZOWICKI B°41nt5*;

— ^ "■"■"^"■^^1" cation in Kiev. I

ussia in 1892, he
art and general edu-
cation in Haev. He came to America
in 1906 and graduated from the National Academy of Design in New York
receiving the Silver Medal. He became an honor graduate of the Ohio State
University and was for a year in the United States Army during the world
war. From 1920 to 1923 he traveled abroad, studying for one year at the Sor-
bonne and one year at the Friedrich Wilhelm University in Berlin. He has
worked at every conceivable thing, from shoemaker to bartender, while writing
and painting at intervals. He has a remarkably fine and clear mind. His works
were exhibited abroad and in the United States at the Societe Anonyme, the
Society of Independent Artists, the New Art Circle and the Whitney Studio
Clubs and the Salons of America. He made settings for the Fashion Show of
Lord £^ Taylor's Centennial Celebration and a stage setting for G. Kaiser's
"Gas" in Chicago. He is the author of a brochure "Modern Russian Art,"
published by the Societe Anonyme, 1925.

110

TjORN in Wisconsin in 1891 and
-*-* went to Chicago to study art
at the Art Institute. A fine sensi-
tive painter who tries to keep his
own personality intact, he studies
with eager interest the various
new methods as they appear. He
has lately been added to the Charles
Daniel group at the Daniel Gallery.

KARL KNATHS

111

TO quote: — I am twenty-six and have painted for the past
eight years. I am self-taught. I was born in the Middle West,
much to my delight. I may mention I have very little desire to
go to Europe, as America seems to possess much more than I can
really know. I firmly believe in America and its system of
construction and I know there is all the material here for a
painter to express in his or her terms. I believe that artists
should be more concerned and interested in their surroundings
and present day life and I cannot see any possibility of a sincere
expression dealing with anything but the spirit of modern
development." His pictures are in the private collections of
Katherine S. Dreier, Professor van Roorsbrooks, Dr. Cigale and
Mrs. Ripply.

PAUL GAULOIS

112

"\ \ 7 AS born at Ashevillc, N. C, in the early 80's and went to
W Washington to study art at the Cochran School. Later he
completed his studies at the Pennsylvania Academy of Fine Arts
and from there went to London to work with Frank Brangwyn.
To quote from his own statement: "The inference that the above
schools have taught me tendencies which I have followed is
fallacious. I have tried to apply modern principles to mural decora-
tions and have done so principally in theatres, hotels and book
illustrations. The first and largest mural painting done in the
modern spirit in our country opposed to the old official academic
sense was done for Loew's theatre lobby, Cleveland, Ohio. Other
murals are executed at Atlantic City, Sesqui-Centennial Phila-
delphia, Washington and Newark, N. J. He is extremely gifted.

JAMES DAUGHERTY

113

STUART DAVIS

\1/AS born in Philadelphia. He came to New York to study art,
working as an illustrator as well as a painter. He was one of
the group to exhibit with the International Armory Show in
1913, the Society of Independent Artists, the Whitney Studio Club
as well as in other towns.

114

WALLACE PUTNAM

BORN in Boston in 1899, he studied art for six months in
the Massachusetts Normal Art School and six months
it the Museum School. He feels that whatever value his
training has given him has not been through the practical
ipplication at art schools but through the study of old
masters in museums. Later he moved to Hartford. There
tie became aware of the modern point of view which
interested him tremendously. He gave two exhibitions and
wrote a weekly column on art for the Sunday Hartford
Uourant. In the autumn of 1925 he came to New York,
fie belongs to those rare spirits who earn their living through
>ther means than art to enable him to express himself freely
without compromise.

115

The Societe Anonyme

Takes Great Pleasure in Presenting

These Little Bouquets of

Appreciation

Which Through the Kindness of Others

It Is Able to Present to its
Fellow Fighters In the Field of Battle

for
Greater Life in the Arts

A. G. Bragaglia

dans

croquis

Ivo Pannaggi

117

WHEN
IN

ROME

A
G

A
C

GALLERY AFT

MODERN THEATRE EVE —

CABARET NIGHTS

IAS

IN
ANCIENT

STURM

FIGHTING FOR MODERNISM SINCE 1907

PAINTING
SCULPTURE

BOOK STORE
GALLERY

POTSDAM ERSTRASSE 134 A

MAGAZINE

MUSIC

LITERATURE

THEATRE

C I

DER STURM"

D I RECTORS:

HERWARTH WALDEN

DR. BLUEMNER

VEELAG

KURT SCHWITTERS
WALDHAUSENSTRASSE 5

HANOVER

GERMANY

NE\/-YORK

THE

IHTIMATE

GALLERY

ANDERSON GALLERIES, ROOM 303
PARK AVENUE AT FIFTY-NINTH STREET

The Intimate Gallery will be used more particularly for the intimate study
of Seven Americans: John Marin, Georgia O'Keeffe, Arthur G. Dove,
Marsden Hartley, Paul Strand, Alfred Stieglitz, and Number Seven.

Intimacy and Concentration, we believe, in this instance, will breed a
broader appreciation. This may lead to a wider distribution of the work.

The Intimate Gallery will be a Direct Point of Contact between Public and
Artist. It is the Artist's Room. Alfred Stieglitz has volunteered his services.
He will direct the Spirit of the Room.

The Gallery will be open daily, Sundays excepted, from 10 A. M. till 6 P. M.
All the not overtired will be welcome

BAUUAUS

GERMANY

CADEMY

RTS V-KRAFTf

ARCHITECTURE

WALTER GROPIUS
GEORG MUCHE

PAINTING

WASSILI KANDINSKY

PAUL KLEE
PRINTING
PHOTOGRAPHY

THEATRE

MOHOLY-NAGY

OSCAR SCHLEMMER
LOTHAR SCHREYER

FURNITURE

M. BREUER

POTTERY, WEAVING, METAL WORK
GO TO DESSAU TO STUDY THIS VITAL MOVEMENT

POLYGPAPHIC COMPANY OF AMERICA INCORPORATED

237 LAFAYETTE STREET
NEW YOR-Kv. CITY

PHONE C/

kr. Aladjalov,
li>47 Broadway,
llev; Yoza City.

*$>*■

.»*;>•

*&€**-
*>>*£«*

Encloss ycu will find ».

is. Dreier's Book.

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NEW-YORK

TUE

SOCIETE

AMOKYME

MUSEUM OF MODERN ART

KATHERINE S. DREIER, PRES. & TREAS.
88 CENTRAL PARK WEST. NEW YORK

WASSILI KANDINSKY, VICE-PRES.

BAUHAUS. DESSAU. GERMANY

MARCEL. DUCH AMP, SECRETARY

29 RUECAMPAGNE-PREMIERE. PARIS

AIM

The aim of the Societe Anonyme is educa-
tional. It is an International Organization
for the promotion of the study of the
experimental in art for students in Amer-
ica and renders aid to conserve the vigor
and vitality of the new expressions of
beauty in the art of to-day.

MEMBERSHIP DUES $5.00 AND $10.00 OR MORE. CONTRI
BUTION TO BUILDING FUND GRATEFULLY RECEIVED

—

E)OBITION

FOR THE

NQVEMBEk

Mwe

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